References in this psalm to "a new song" (v. 3) and to God's frustration of the plans of hostile nations may suggest a time when Israel experienced a remarkable deliverance from foreign enemies, as in the days of Jehoshaphat (2 Chron. 20) or Hezekiah (2 Kings 19). Relevant for any time the people of God reflect on their security in the face of hostile powers, the psalm calls on God's people to rejoice and sing because of God's faithful care (st. 1). As the almighty Creator, God has more than enough power to protect his people (st. 2). Possessing sovereign power over all the world, God can frustrate all plots against his people and effect his own plans for them (st. 3). God's all-seeing eye perceives the devices of worldly powers and watches protectively over his people (st. 4), so they wait in hope for the LORD, rejoicing and trusting in God's unfailing love and protection (st. 5). Marie J. Post (PHH 5) versified this psalm in 1980 for the Psalter Hymnal. See 449 for another (condensed) setting of Psalm 33.

Liturgical Use:
Praise to God as Creator and Ruler of the universe; expressions of trust in God's saving power; reproach of the evil plans of human powers arrayed against the church and the kingdom of God; counsel against reliance on creaturely means; affirmation of the Lord as the believer's only hope for security.

--Psalter Hymnal Handbook

Tune Information:

Psalm 33 was first set to GENEVAN 33 in the 1551 edition of the Genevan Psalter. The tune is generally attributed to Louis Bourgeois (PHH 3), the composer who served as editor of that psalter. The Psalter Hymnal includes two versions of a harmonization by Claude Goudimel (PHH 6): an adapted one to place the melody in the soprano, and the original 1564 setting (opposite 32) with the melody in the tenor, which was custom¬ary for that time. GENEVAN 33 is in Dorian mode; the two long opening lines of this bar form (AABC) are contrasted by even longer lines of three phrases each. A majestic tempo is helpful in negotiating the rhythms and the bountiful text. Sing (and play) stanzas 1-4 antiphonally (with some use of the alternate harmonization), and have everyone join in unison on stanza 5.